User Reviews

Just a so so comedy about a newlywed couple (Robert Paige and Louise Albritton) separated almost immediately because of her involvement in a new play being produced on Broadway and his dalliance with socialite Diana Barrymore. Her producer (Walter Abel) has no idea that she's married, pretty much having forced her to sign a singles clause. Misunderstandings lead her to Reno where a basic rip-off of "The Women" takes place, except for the sudden arrival of her husband. But that's nor it, as these are two stubborn young people where jealousy rules the head, not the heart.

Everything is rushed through to conclusions, making thus screwball comedy episodic and talkie, certainly not plot or character driven. While Albritton and Paige try to instill dignity into their characters, they are brought down by a formula script and direction that has many of the actors walking through it with nothing but a smirk. It's loud, clichéd and seemingly rushed, with situations that don't seem real. Barrymore gets top billing, but doesn't get much to do but scream and toss off cracks without real fire. In scenes with Albritton, the great profile's daughter is clearly out of her element.

This is a typical Michael Fessier-Ernest Pagano comedy, chock-full of good comic ideas, all of which fail to germinate. All that happens is that the plot flies off in all directions. These twists are not only unfunny but confusing. Charles Lamont's lack-luster direction doesn't help either. Neither does top-billed Diana Barrymore who displays about as much sparkle as a stunned mullet. Co-stars Robert Paige, Louise Allbritton and Walter Abel don't inspire confidence either. True, Abel succeeds in making a few of his lines sound moderately witty, but Paige is reduced to making ill-timed double takes. Admittedly, Louise Allbritton does her best with the flaccid script, and the rest of the support players led by George Dolenz, Rex Ingram, Ernest Truex, Richard Lane and the ever-reliable Samuel S. Hinds do their best, but they are fighting an uphill battle against a soggy script and Charles Lamont's don't-make-it-good-make-it-this-afternoon direction.